Mosley, Philip 1947-

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Mosley, Philip 1947-


Born June 8, 1947, in Grimsby, England; naturalized U.S. citizen; son of Kenneth and Elizabeth Mosley; married Shu-Ching Huang, August 11, 1988. Ethnicity: "English." Education: University of Leeds, B.A. (with honors), 1968; University of East Anglia, M.A., 1970, Ph.D., 1976.


Home—Gouldsboro, PA. Office—Pennsylvania State University—Worthington Scranton, 120 Ridge View Dr., Dunmore, PA 18512. E-mail—[email protected]


Teacher of English as a foreign language in Tampere, Finland, 1968; Kolding Gymnasium, Kolding, Denmark, teacher of English, 1970-71; University of Wisconsin—Milwaukee, Milwaukee, lecturer in comparative literature, 1973-76; Griffith University, Brisbane, Australia, lecturer in comparative literature, 1977-79; University of East Anglia, Norwich, England, part-time lecturer in literature, 1980-81; Glasgow Caledonian University, Glasgow, Scotland, lecturer in communication, 1981-88; Pennsylvania State University—Worthington Scranton, Dunmore, began as assistant professor, became professor of English, communications, and comparative literature, 1988—. Medical Humanities Review, advisory editor, 1988-95; New Comparison, member of editorial board. Certified soccer coach.


Ingmar Bergman: The Cinema as Mistress, M. Boyars (London, England), 1981.

Georges Rodenbach: Critical Essays, Fairleigh Dickinson University Press (East Brunswick, NJ), 1996.

Split Screen: Belgian Cinema and Cultural Identity, Amsterdam University Press (Amsterdam, Netherlands), 1999, State University of New York Press (Albany, NY), 2000.

(Editor and author of introduction) Anthracite! An Anthology of Pennsylvania Coal Region Drama, University of Scranton Press (Scranton, PA), 2006.

Contributor to books. British correspondent, Courier of the International Centre of Poetic Studies, Brussels, Belgium, 1982-88. Contributor to periodicals.


Werner Lambersy, Tea Masters, Teahouses (poetry), Writer's Workshop (Calcutta, India), 1982.

Werner Lambersy, Anchors of Ink (poetry), Sceptre Press (London, England), 1982.

(And author of introduction) Georges Rodenbach, Bruges-la-Morte (novel), Dufour Editions (Chester Springs, PA), 1986.

Guy Vaes, October Long Sunday (novel), Peter Lang (New York, NY), 1997.


Philip Mosley once told CA: "Living in Scandinavia was a rich experience which found partial expression in my study of Ingmar Bergman's films. Using an auteurist approach, I tried to set Bergman in a distinctive Nordic context. Looking back to when I began writing the book during the mid-1970s, I think I would have approached the subject quite differently had I then been able to benefit from the great development of film criticism over the past fifteen years. For me, Bergman's best films remain that series in the 1960s from The Communicants to The Passion of Anna, which is my personal favorite. I think the crisis of individualism that marks so many of his best films became rather wearisome in his later career, signaling something of a crisis, too, for Bergman as an individual artist; however, in Sarabande he showed that he remains a masterful filmmaker. As for the man, he seems to be a highly strung, often anguished individual who has deflected much of his inner doubt and fear into brilliant cinematic and theatrical achievements.

"My interest in Belgian literature and film springs from a chance meeting with poet Werner Lambersy in Brussels in the early 1970s. The culture of this small, bilingual country—with its peculiar melange of the familiar and the fantastic—has fascinated me ever since. By translating the work of some francophone writers and writing a history of its ‘divided’ cinema, I feel I am both delving deeper into this strange sensibility and helping to make it a little better known to English-language readers."



Times Literary Supplement, September 24, 1982, Nick Roddick, review of Ingmar Bergman: The Cinema as Mistress.